Tuesday, 2 October 2018
Fame the Musical (UK Tour), New Victoria Theatre | Review
Fame (UK Tour)
New Victoria Theatre
Reviewed on Monday 1st October 2018 by Olivia Mitchell
★★★★
Fame is the original high school musical drama. The story about a group of wannabe New York performers became an instant success with audiences after the 1980 film, and various incarnations including tv series and musical performances were spawned. Fame the Musical, developed by David De Silva, is currently touring again to celebrate it's 30th anniversary before a stint in the West End next year.
Fame the Musical follows the lives and struggles of students attending the New York High School of Performing Arts. It is a real-life, non-sugar-coated version of being a young adult and facing issues, including substance abuse, sexuality and self worth.
From the opening number to the very last moment of toe-tapping brilliance, Nick Winston's production screams energy and vibrance. The entire show is a well choreographed, lively machine that, although being set in the 80s, feel fresh, relevant and energetic.
The energy comes from the outstanding young cast who deliver every moment with enthusiasm and precision. Molly McGuire is loveable and quirky as she falls in love with Nick (Keith Jack) the TV actor, wanting to move to more serious roles. Both performers provide beautiful vocals, especially during Let's Play a Love Scene in which Molly shines. The pair compliment each other wonderfully and present a sweet romantic arc.
Hayley Johnston brings humour and heart to the show, with bubbly Mabel earning laughs throughout and showing off her killer, powerful vocals in Mabel's Prayer.
Jorgie Porter shows off her well-honed dance skills as Iris who falls for Tyrone (Jamal Crawford), an equally exquisite dancer who gave a standout performance with Dancing on the Sidewalk. Tyrone also has a storyline with teacher Miss Sherman (Mica Paris) as she realises he is illiterate and tries to inspire him to work on himself. The pair are realistically at odds with one another as their heightened tensions come to a boil with Mica Paris' effortlessly stunning rendition of These Are My Children.
Hayley Johnston brings humour and heart to the show, with bubbly Mabel earning laughs throughout and showing off her killer, powerful vocals in Mabel's Prayer.
Jorgie Porter shows off her well-honed dance skills as Iris who falls for Tyrone (Jamal Crawford), an equally exquisite dancer who gave a standout performance with Dancing on the Sidewalk. Tyrone also has a storyline with teacher Miss Sherman (Mica Paris) as she realises he is illiterate and tries to inspire him to work on himself. The pair are realistically at odds with one another as their heightened tensions come to a boil with Mica Paris' effortlessly stunning rendition of These Are My Children.
Mention must also go to the fantastic actor-musicians who are present on stage throughout and bring a natural, realistic feel to the show and transport us to a frenetic performing arts school- Alexander Zane is a standout of the group.
The real star of the show is undoubtedly, Stephanie Rojas who gives a fiery performance as Carmen, the Latina who longs for fame. Stephanie is everything Carmen should be with her transition from a larger than life girl in There She Goes/Fame, to a broken woman in the devastating In LA supplying a supremely moving storyline. Stellar vocals and superb acting make Stephanie's performance a must see and should be required viewing for any budding performers.
On top of the impressive performances, Prema Mehta's lighting is extremely atmospheric from the opening scene which dazzles the audience to attention and sets the tone for an exhilarating show. Particularly clever is the use of light tones, for example in Carmen's emotional climax during act 2, she is bathed in cool, stark light whilst her counterpart Schlomo (played touchingly by Simon Anthony) is lit in a warm tone. These subtle details are part of what makes this production of Fame superior.
Whilst there are a number of stereotypes and other than a couple of the main characters, not much character development, this show is raw and pure storytelling, told by a supremely talented cast. Helped by Morgan Large's set, the focus of this production is purely on no gimmick talent, so, if you want to see skilled performers and hear highly catchy songs then Nick Winston's production of Fame is the show for you- don't miss it!
Fame runs at the New Victoria Theatre until October 5th before continuing it's tour and heading to the Peacock Theatre next year.
photo credit: Tristram Kenton
Whilst there are a number of stereotypes and other than a couple of the main characters, not much character development, this show is raw and pure storytelling, told by a supremely talented cast. Helped by Morgan Large's set, the focus of this production is purely on no gimmick talent, so, if you want to see skilled performers and hear highly catchy songs then Nick Winston's production of Fame is the show for you- don't miss it!
Fame runs at the New Victoria Theatre until October 5th before continuing it's tour and heading to the Peacock Theatre next year.
photo credit: Tristram Kenton
Monday, 1 October 2018
Pretty Woman, Nedelander Theatre | Review
Pretty Woman
Nederlander Theatre
Reviewed on Wednesday 19th September 2018 by Olivia Mitchell
★★★★
The stage adaptation of the 1990 film, Pretty Woman, follows rich businessman Edward who hires Hollywood Boulevard sex worker, Vivian for his six days in Los Angeles and, well, things go from there...
The storyline is problematic in a number of ways, mainly because it centres on a man being able to buy and control a woman whilst she can escape all her issues by using sex. However, in the musical's book by Gary Marshall and JF Lawson, Vivian is self-reliant and assertive. In this show, it's Edward who has more of a journey, struggling to face the world and relationships that come with it.
The musical takes almost every element of the film and transfers them to stage with pep and heart. All the famous one liners are there and we are given an extra boost with the musical theatre-rock songs of Bryan Adams and Jim Vallance. The cast give a sleek performance as well as providing spades of chemistry throughout.
As the leading lady in her Broadway debut, Samantha Barks is both fierce and vulnerable, supplying humour and spot on vocals throughout, with I Can't Go Back being a real memorable moment of the show. As her partner in crime, Andy Karl is sympathetic as Edward and the pair have incredible chemistry. Also stealing scenes are Orfeh who belts as if her life depends on it as best friend Kit; Eric Anderson as Happy Man/Mr Thompson who acts as the ever present storyteller and Tommy Bracco who is completely hilarious as Giulio.
Mention must also go to Brian Calì and Allison Blackwell who give spine tingling performances during the La Traviata scene and truly transport us to a grand opera.
Set wise, it's fairly simple but the design does a great job of bringing the iconic Los Angeles settings to life and alongside the costumes, showcase a piece which feels very of it's time, but with somewhat of an updated slant. All the well-loved costumes can be seen and it's a very faithful, engaging adaptation.
Jerry Mitchell is following his winning screen to stage formula with this production and has provided a show which fans of the film will adore. The outstanding leads and tight ensemble make this a high-octane, fun for all show. It's not perfect but it's certainly a fun night out and perfect for lovers of the original film.
Sunday, 30 September 2018
Under the Hawthorn Tree, The MAC, Belfast | Review
Under the Hawthorn Tree
The MAC, Belfast
Reviewed on Friday 28th September 2018 by Damien Murray
★★★★
Providing us with much-needed education of our own history through the accessibility of theatre, Charles Way’s premiere stage adaptation of Under The Hawthorne Tree by award-winning author, Marita Conlon-McKenna, works equally as well for adults as it does for children.
Due to the darker nature of the story – that of the plight of three brave siblings as they journey alone across Ireland in search of unknown relatives at the height of the country’s devastating Potato Famine of 1845 – this production is aimed at families and children aged 7 and over.
The 65-minute running time is just perfect for such a drama, with adults and older children getting totally immersed in the gripping storyline, while, being within their attention span, younger ones remain engaged enough to at least raise awareness and curiosity about the piece for future conversation.
Commissioned by National Museums Northern Ireland, this joint production by The MAC in Belfast and locally-based award-winning international children’s theatre company, Cahoots, is a truly magical piece of theatre on many levels.
Although magical in terms of theatricality and staging rather than this company’s signature brand of magic (illusions or tricks), Paul Bosco McEneaney’s direction strikes the right balance between story-telling and history-teaching about such a dark and serious topic.
However, while the nature of the subject matter dictates that this is not a show for enjoyment, as such, there are moments to be enjoyed with a subtle sprinkling of gently humorous one-liners delivered with the innocence of a child.
Ably supported with solid performances in numerous roles by Maggie Cronin, Julia Dearden, Adam Dougal, Colette Lennon Dougal and Frankie McCafferty, it is three younger performers - Maeve Smyth, Terence Keeley and Philippa O’Hara (although not as thin and scrawny as one would expect) – who have to carry the weight of this production as the ever present trio of siblings fighting for survival amid severe hardship throughout their perilous cross-country trek in search of an aunt they have never met.
Bereft of parents and following the death of their baby sister, the raggedly-dressed and dirty-faced trio are soon forced to grow up fast on this hazardous journey with eldest daughter, Smyth’s Eily, having no choice but to care for her younger brother and sister and adopt the role of both mother and nurse.
As the ‘man’ of the family, Keeley’s young Michael has to constantly balance his feelings between bravado and fear, while youngest daughter, O’Hara’s Peggy, is allowed to retain her childish innocence and continues to be both surprised and appalled by others having to tell lies for the greater good.
Together, they encounter death, home eviction, starvation, weakness, tiredness, injury, the threat of overcrowded workhouses, soup kitchens, disease, fever, infant death and the unforgivable attitude of neighbouring countries to the Irish nation during its time of greatest need; the mood only lightened at times by Carlos Pons Guerra’s gentle and playful choreography.
Sabine Dargent’s set and costume designs were also successful as was James McFetridge’s lighting, which combined with the sparse set and effective sound effects to provide an atmospheric sense of darkness and bleakness.
Surrounding the circular wooden performance platform throughout, musical director, Shane McVicker, and his small band - Darragh Murphy, James Nash, Rod Patterson and Matt Weir – did great justice to Garth McConaghie’s sometimes haunting, eerie and Celtic-based score, with beautiful vocals and harmonies from the three ‘children’.
Killing over one million Irish people and forcing another million to emigrate, the author of the book states that ‘the tragedy of the Great Irish Famine is the story of Ireland and her people’ and she originally wrote the piece to help her own children to understand the human side of the tragedy.
Sadly, with famine, hunger, disease and displacement throughout the world still part of our daily news, this piece is as relevant today as ever, and, for me, this story remains as much about the resilience of children as it is about the plight of the Irish nation.
This magical production reflects the resilience and team work that the children in the story must have had to survive such an ordeal.
Under the Hawthorn Tree runs at the MAC, Belfast until 7th October 2018
Photo credit: Carrie Davenport
Wednesday, 26 September 2018
Once on This Island, Circle in the Square | Review
Once on This Island
Circle In The Square
Reviewed on Tuesday 18th September 2018 by Olivia Mitchell
★★★★
Once on this Island is basically the show version a huge hug; filled with a heartwarming story, spectacular talent and amazing use of theatrical devices it's a truly brilliant piece of theatre.
The Circle in the Square theatre provides the perfect, semi-immersive space for this show which follows the story of Ti Moune, a young peasant girl, who with the help of the Gods, sets on a journey to unite with the boy who has captured her heart. The story itself is pretty random and far-fetched: Ti Moune falls head over heels with this boy she has only glimpsed at for a second (very Little Mermaid-esque) and decides she must dedicate herself to saving him. However, the way the story is told is truly beautiful.
Michael Arden has directed a feast for the eyes which is magical, moving and heartfelt in equal measure. The simplicity of the show is what makes it so special. The use of debris and fragments of clothes/products immerses us in the world and transports us subtly to a place ravaged by a natural disaster which has to piece itself together the best it can. Clint Ramos has done an outstanding job of bringing pieces together without making anything look tacky of lacklustre.
With musical gems such as Mama Will Provide, Waiting For Life and Why We Tell The Story, it's no surprise that this show is a hit. The Caribbean-infused musical theatre songs are catchy and supremely well performed. Despite premiering in 1990, the entire production feels fresh and enticing and is undeniably a show to be loved by any audience members.
The cast perform Ahrens and Flaherty's music with life and joy, Alex Newell's Mama Will Provide is a sure stand out, whilst Tamyra Gray brings an Angels in America vibe to the death God, Papa Ge who flicks around the stage with a menacing presence, especially in Forever Yours. Other stand outs include Quentin Earl Darrington who's booming voice fills the intimate space, Kenita R. Miller who draws the eye from the moment the audience enters the theatre and Isaac Powell who is vocally strong as Ti Moune's love interest, Daniel.
Whilst this is truly an ensemble piece, with the cast filling the space with sounds and movements whilst every 'solo' piece takes place, the heart is definitely Hailey Kilgore as the young Ti-Moune. Her voice and performance is compelling and heart-wrenching whilst remaining vulnerable and full hearted. There's no doubt that Hailey will be a staple on Broadway stages from years to come as she performs free from constraint and provides one of the most moving and nuanced performances I have ever witnessed.
Michael Arden has directed a feast for the eyes which is magical, moving and heartfelt in equal measure. The simplicity of the show is what makes it so special. The use of debris and fragments of clothes/products immerses us in the world and transports us subtly to a place ravaged by a natural disaster which has to piece itself together the best it can. Clint Ramos has done an outstanding job of bringing pieces together without making anything look tacky of lacklustre.
With musical gems such as Mama Will Provide, Waiting For Life and Why We Tell The Story, it's no surprise that this show is a hit. The Caribbean-infused musical theatre songs are catchy and supremely well performed. Despite premiering in 1990, the entire production feels fresh and enticing and is undeniably a show to be loved by any audience members.
The cast perform Ahrens and Flaherty's music with life and joy, Alex Newell's Mama Will Provide is a sure stand out, whilst Tamyra Gray brings an Angels in America vibe to the death God, Papa Ge who flicks around the stage with a menacing presence, especially in Forever Yours. Other stand outs include Quentin Earl Darrington who's booming voice fills the intimate space, Kenita R. Miller who draws the eye from the moment the audience enters the theatre and Isaac Powell who is vocally strong as Ti Moune's love interest, Daniel.
Whilst this is truly an ensemble piece, with the cast filling the space with sounds and movements whilst every 'solo' piece takes place, the heart is definitely Hailey Kilgore as the young Ti-Moune. Her voice and performance is compelling and heart-wrenching whilst remaining vulnerable and full hearted. There's no doubt that Hailey will be a staple on Broadway stages from years to come as she performs free from constraint and provides one of the most moving and nuanced performances I have ever witnessed.
photo credit: Joan Marcus
Friday, 14 September 2018
Misty, Trafalgar Studios | Review
Misty
Trafalgar Studios
Reviewed on Thursday 13th September 2018 by Olivia Mitchell
★★★★★
Misty is an outstanding, relevant, vibrant and moving piece of theatre written and performed by a theatrical genius. Arinzé Kene's use of spoken word, movement, rhythm and singing is masterful and makes you feel as though you are with him every step of his journey.
Despite being in a formal setting of audience separate from the performer, this show feels immersive and the regular breaking of the fourth wall feels natural and fresh. It's evident that this show is so intricately planned, that it feels unplanned. We find ourselves constantly questioning whether an action was an accident but it soon becomes clear that everything is part of the beautifully woven fabric of the show.
The dual-narrative script written by Kene is a masterclass in effect. The balance between political/racial tensions, intensity and passion is perfectly found and combined with laugh out loud humour magnificently. The structure of the entire piece is so exhilarating and exactly what the West End needs right now.
Kene is one of the most deft storytellers I have ever encountered. The way he captivates the audience and wraps us around his finger with a faultless intensity and honesty is an impeccable thing to witness. His performance pulls together a number of theatrical/storytelling devices which create a visceral performance that gives visibility to crucial issues that constantly need addressing. The fact that this is only the second black British play to be in the West End is enough to show that change is needed and I sincerely hope and believe that Misty will reach those that are able to influence change and will be a step towards opening conversations that will lead to positive outcomes.
The stunning performance of Kene is accompanied by incredibly deft musicians: Shiloh Coke and Adrian McLeod. The lighting (Jackie Shemesh), sound (Elena Peña) and video (Daniel Denton) are all part of creating the perfect package of Misty.
Misty is unique, theatrical perfection, written and performed by a master of his craft. This show needs to be seen and experienced. Don't miss it.
Misty runs at Trafalgar Studios until 20th October 2018
photo credit: Helen Murray
Thriller Live! (4000th Show Gala), Lyric Theatre | Review
Thriller Live! (4000th Show Gala)
Lyric Theatre
Reviewed on Wednesday 12th September 2018 by Emma Gradwell
★★★★
This week Thriller Live! celebrated its record breaking 4000th performance with a glittering Gala Night featuring special guest performer Peter Andre for one night only.
It was also the launch of a year long collaboration with The Prince's Trust with proceeds from tickets sales to be donated, and a commitment from the Thriller Live! team to provide experiences and mentoring over the next year, which will help to support young people to develop the confidence and skills they need to realise their ambitions through workshops, art projects, Q&A sessions and opportunities to experience the show.
Before the show began, the atmosphere was really electric. There were dedicated fans packing the audience, many of whom had been to see the show many times before.
Comedians Russell Kane and John Culshaw started off proceedings with an introduction for the evening and delivered with humour and style.
Before the show began, the atmosphere was really electric. There were dedicated fans packing the audience, many of whom had been to see the show many times before.
Comedians Russell Kane and John Culshaw started off proceedings with an introduction for the evening and delivered with humour and style.
For anyone not familiar with Thriller Live!, the show is a nostalgic and fond journey through Michael Jacksin's musical career from the early days of Motown and The Jackson Five to beyond his Bad album.
Bouncing onto the stage came the adorable Xhanti Mbonzongwana as a young Michael. His beautiful voice and sharp dance moves took us back to his early career with songs such as ABC and I Want You Back. Backed by an excellent ensemble it was a great performance and got the audience up and on their feet right from the off.
Making his way back to Thriller Live! to perform as an adult Michael was Kieran Alleyne who has previously performed as little Michael in the early days of Thriller Live! Well observed mannerisms and slick dancing in Michael's staccato style made his performance mesmerising. The ensemble dancers in this production really have their work cut out. For most part the show is very high tempo and the choreography is both complex and gruelling. They make it look effortless and it really did make the crowd go wild with excitement. They are clearly having a great time on the stage and this is reflected in how well it is received by the audience.
Bouncing onto the stage came the adorable Xhanti Mbonzongwana as a young Michael. His beautiful voice and sharp dance moves took us back to his early career with songs such as ABC and I Want You Back. Backed by an excellent ensemble it was a great performance and got the audience up and on their feet right from the off.
Making his way back to Thriller Live! to perform as an adult Michael was Kieran Alleyne who has previously performed as little Michael in the early days of Thriller Live! Well observed mannerisms and slick dancing in Michael's staccato style made his performance mesmerising. The ensemble dancers in this production really have their work cut out. For most part the show is very high tempo and the choreography is both complex and gruelling. They make it look effortless and it really did make the crowd go wild with excitement. They are clearly having a great time on the stage and this is reflected in how well it is received by the audience.
My only criticism of the show is that some of the high energy performances are very clearly lip synced to a backing track and with so many great vocal performances it's hard to understand why that is. However, this really was a THRILLING night. The audience loved it, the partnership with The Princes Trust is to be applauded and I am sure the show will continue to entertain in the future.
Thriller Live! is booking at the Lyric Theatre until 7th April as well as a UK Tour
photo credit: Betty Zapata
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